A social misfit, Willard is made fun of by his co-workers, and squeezed out of the company started by his deceased father by his boss. His only friends are a couple of rats he raised at home, Ben and Socrates. However, when one of them is killed at work, he goes on a rampage using his rats to attack those who have been tormenting him.

From the basement bars of 70s New York to the peak of the global charts, this is the story of how disco conquered the world: its origins, its triumphs, its fall and its legacy.

The artistic journey of Dahmane El Harrachi, born in 1925 in Algiers, bears the mark of his experience. An attentive and vigilant observer of the environment of immigrant workers, Dahmane has always avoided falling into the ambient miserabilism. From the Algerian Chaâbi, he has kept certain melodic lines and a clear propensity for sayings drawn from the oral poetic tradition. El Harrachi uses simple language, understandable by all popular sectors of the Maghreb, which partly explains its wide success. In 1949, he went to France and it was in cafes, springboard places where people come to breathe the air of the country, that he performed regularly. Elegant, with his beautiful atmosphere, the “bluesman” of the suburbs seduces, upsets and stirs consciences. Discovered late by the new generation, the creator of Ya Rayah met a tragic end, on August 31, 1980, in a car accident, on the Algiers coast which he sublimated above all else.

Desperate for companionship, the repressed Willard befriends a group of rats that inhabit his late father's deteriorating mansion. In these furry creatures, Willard finds temporary refuge from daily abuse at the hands of his bedridden mother and his father's old partner, Frank. Soon it becomes clear that the brood of rodents is ready and willing to exact a vicious, deadly revenge on anyone who dares to bully their sensitive new master.

During the 1970s the Middle East was a battleground for the Cold War; liberal pro-Western forces battled with pro-Soviet Arab Nationalists and Baathists. But in 1979 a series of events – the Iranian Revolution, Egypt’s peace with Israel, the Mecca Mosque Siege, and the Soviet Invasion of Afghanistan – contributed to a radical change in the mind-set of the region and its leaders. It was the start of the meteoric rise of radical Islam.

Jamie Oliver is here to start a revolution. The impassioned chef takes on obesity, heart disease and diabetes in the United States, where its children are the first generation not expected to live as long as their parents.

A man (Richard Roxburgh) the Australian government blames for 1990s political woes blames his mother (Judy Davis), a communist Stalin seduced in 1951.

A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.

A fascinating insight into the role of the intimacy co-ordinator, told through behind-the-scenes access to new queer French TV show Split.

In this hybrid political thriller and verité portrait documentary, Sara Nodjoumi, working with co-director and husband, Till Schauder, makes her directorial debut with this personal film, diving into the mystery surrounding the disappearance of more than 100 “treasonous” paintings by her father, seminal Iranian modern artist Nickzad Nodjoumi.

A chronicle of the Russian Revolution of 1917, from the bourgeois democratic February Revolution to the great socialist October Revolution and the final triumph.

REVOLUTION OS tells the inside story of the hackers who rebelled against the proprietary software model and Microsoft to create GNU/Linux and the Open Source movement.

Using testimonies by pioneers and witnesses of the times, delve into the feverish visual culture the media generated – with far-fetched examples of canine television games, seduction manuals, aerobics class while holding a baby, among others.

100 years after the Russian revolution, the film invites us to think about agroecology as an option and a necessity in the construction of food sovereignty, taking the experience of Cuba as a world reference and inviting us to think that another type of field is possible.

Machines have taken over, but left humans thinking that they are still the ones in charge. The androids need humans because of the human brain fluid; without it the android brains can't work. Until the mad scientist finds out how to make this brain fluid artificially that is.

The adventures of 35-year-old Oyin Clegg and her friends Toke and Gloria as they kiss the many frogs in the quest to find their prince. In the process, they are forced to ask important questions about their friendship, love and life ultimately asking - finding hubby or finding happy?

The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair after Agostino's funeral, then Gina confuses Fabrizio by sleeping with a stranger. Their visits to Cesare and then to Puck, one of Gina's older friends, a landowner losing his land, dramatize contrasting images of Italy's future. Their own futures are bleak.